Nollywood Goes to Oscars with Lionheart

Nollywood Actors Fans Will Forever Love

(By Adunni Amodeni) - Ten Talented Nollywood Actors We Will Never Stop Loving

Some Nollywood stars who quit acting in the 90s made our childhood days memorable and lit, while some are still around entertaining their loyal fans. Their roles in classic movies helped set the pace for the industry we’ve come to love dearly today.

These great actors have been involved in one scandal or another and some have managed to remain scandal free. Amidst their endless dramas, their fans still can’t bear not seeing them on their TV screens. They also look out for their movies either on DVD or in the cinemas.

Legit.ng has come up with a list of Nollywood actors we will never stop loving:

LADIES:

 1. Genevieve Nnaji:

The world can never get enough of talented Nollywood actress, Genevieve Nnaji. The 39-year-old diva is also a movie producer, director, screenwriter and former model. She reportedly welcomed her first child at the age of 16 and did not let that affect her studies or movie career. Having joined the industry in her teenage years, the delectable actress has featured in countless movies both local and international.

The Women Driving Nollywood in 2019

(By Daniel Okechukwu) - These Are the Women Pushing Nollywood to Greater Heights in 2019

From Mo Abudu to Ema Edosio, these women are transforming Nollywood for the better.

          Women have had a place in Nollywood since its inception, but that was mostly in front of the camera. Behind the scenes, things have historically been governed by men: they produce and direct the biggest films and generally dictate the market for Nigerian film.

          In 2019, the era of overwhelming male dominance is over, thanks to a new type of female mogul personified best by Mo Abudu. Since the release of her first film Fifty in in 2015 she has ruled the Nigerian box office. Three films she executive produced—The Wedding Party 1, The Wedding Party: Destination Dubai and Chief Daddy—sit atop the list of highest grossing Nigerian movies of all time. The original Wedding Party grossed ₦453 million, its sequel did ₦500 million, and her latest Chief Daddy made over ₦300 million in three weeks. 

          Four of the films produced by her film company EbonyLife are among the top 10 highest grossing Nollywood films. Mo Abudu's success has ushered in a new trend of women making boss moves in Africa's biggest film industry.

Lionheart: A Movie for Business and Film Schools

(By Toni Kan) - Three years after her first award winning feature film, Road to Yesterday, Nollywood screen goddess, Genevieve Nnaji has returned with her sophomore feature, Lionheart starring a slew of Nollywood greats – Pete Edochie, Onyeka Onwenu, Nkem owoh, Chika Okpala aka Zebrudaya, Kanayo O Kanayo as well as music star Phyno and award winning young actress, Jemima Osunde.

The film which was rejected by a section of film distributors in Nigeria made its worldwide debut on Netflix on Friday January 4, 2019.
My friend and brother, Wilfred Okiche has described Lionheart as “the feel good movie of the year” and he is correct but there is a lot he did not say.
            Genevieve Nnaji teaming up with Ishaya Bako (who directed Road to Yesterday) and Chinny Onwugbuenu has given us a very important movie. Lionheart, as its title suggests, is that rare and brave thing, a stereotype defying movie, a business primer and a very, very wise movie.
            Kudos must be given to the writers – Genevieve Nnaji, Chinny Onwugbuenu, CJ Obasi, Ishaya Bako and Emil Garba – for providing a unifying vision around the original idea.
            I have described Lionheart as an important movie because it speaks to the future in an eloquent voice.

Lionheart: Lessons for an Impressed Fan

Genevieve Nnaji and Nkem Owoh

(By Nkechi Bianze) - I watched #LionHeart on Netflix yesterday.

The movie is a breath of fresh air. Away from the usual stale boring storyline.

1. The uncle came to actually contribute his bit to saving the company. He didn't come to kill the brother and take over the company and money.

2. Pete Edochie didn't die suddenly by a heart attack or something. He fell ill and got back on his feet.

3. Pete Edochie and his wife recognized the strengths of their children. The son wasn't victimized for choosing not to manage the family business. He was allowed to follow his own dream of a music career. He wasn't taunted like a lost soul or prodigal son as a result of his choice.
Genevieve, even as a woman was given the freedom to manage the family business and source of wealth. There was no sexism in this case like most other Nollywood movies would have shoved down our throats.

4. There was no family feud. Sister inlaw and brother inlaw weren't fighting their brother's wife. Son wasn't trying to claim he is the man and in charge of the family wealth, either by crook or real.

5. The storyline is simple yet engaging. It was all about saving a drowning family business. The struggles were realistic, and the journey to finally being able to save Lionheart was quite realistic too.
A Billion Naira didn't suddenly appear from nowhere for them to clear their debt. They fought, tried and tried, and they triumphed.

Lionheart: Of Family, Culture, and Industry

The Obiagus

(By Obianuju Okafor) - Enugu takes centre stage in Genevieve Nnaji’s directorial debut with lighting and colouring made to reflect the mood and feel of the town. It is one of the things that Lionheart gets right from its beginning and the first sign that the audience is about to get a film that mixes the technical improvements that have attended more recent Nollywood releases with a more old school, locally flavoured, story, and (this bears stating right of the bat) superb, superb acting.

Adaeze is an adept and excellent right hand for her father in the bus transport empire that he has built. When his health is severely threatened, Adaeze’s assumption that she will be appointed as the acting leader is disappointed by the arrival of her uncle who is then appointed in her place, and whose presence initially irks her. Still, the two band together to solve a problem left by her father and compounded by the owner of a rival transport company, who hopes to make a gain from their troubles. Ada slowly has her perspective changed as she interacts more with her uncle and comes to the end of her own rope.

Lionheart is a slowburn, walking leisurely through every occurrence even when a clock is introduced to heighten the stakes. Genevieve Nnaji is a great lead as Adaeze giving a great and completely unforced performance and leaving room enough for the roster of other veterans to shine.

#Lionheart and the Metaphor of the Possible

Adanna and her uncle, Godswill

(By Pius Adesanmi) - NIGERIA is notorious for her belief in the indestructibility of a project that everybody purports to hate, dislike, disavow or disown. Somewhere in the core of the Nigerian psyche lies the belief that we are the only people on earth whose country will always survive our unquenchable hate, bitterness, and hostility expressed along our three most intractable fault lines: ethnicity, faith, and political affiliation, worsened by the democracy of social media and the conquest of that space by millennials – Nigeria’s most populous demographic – who no dey look Uche face.

However, I do not believe that Nigeria could have survived another week of hatredvaganza and the attendant cursefest that has happened upon us because of the presidential election season had art and the artist not intervened this week to do what they have done for humanity and society since the beginning of time: provide instrumental catharsis and place in front of  a society on the brink of implosion through self-inflicted injuries a mirror showing pathways of the possible.

That is the symbolic role that Nigeria’s cultural icon, Genevieve Nnaji, played this week with the release of her new movie, #Lionheart, on Netflix. I do not intend to explore the plot of the movie here. Go and watch it like millions of Nigerians have already done. When you are done watching it, join the commentariat on social media who have been busy dissecting scenes, characters, and other elements of the movie in a moment of national cultural jouissance that has united home and diaspora. My intervention is necessitated by a pattern of misses I have noticed so far in the social media commentary.

Genevieve Nnaji: Twenty Years In Nollywood

"As 2018 comes to an end, I mark 20 years in the art of film making. I’m grateful for my life, journey, and growth thus far. I’m happy I could celebrate with you through a product that embodied all of me, mentally and spiritually; for all of your pleasure. May 2019 be our best year yet. 🎉Happy New Year! ❤️"

Genevieve Nnaji

Genevieve Nnaji, Lionheart, & Good Old Nollywood

Lionheart, a Genevieve Nnaji film, a true Nigerian home video-styled film, has captured the world—no mende-mende added, just same old simple Nigerian Enugu-based Nollywood’s beautifully told story by same old Nollywood veterans – Pete Edochie, Onyeka Onwenu, Nkem Owoh (I mean the same old Osuofia, nothing added), Ngozi Ezeonu, Zebrudaya, Kanayo O. Kanayo and loads of the same old Nollywood faces based in Enugu. And they made it to the international stage, in a jammed cinema hall in the big city of Toronto, with a mixed audience, seventy-five percent whites. The audience laughed when necessary, cried when necessary, and at the end everyone agreed unanimously that they all thoroughly enjoyed the truly made-in-Nigeria movie. Great sound, beautiful pictures, and of course fast paced cutting that really did the magic. Like I said during the third screening of the film at the Toronto International Film Festival (TIFF), this is our style. Thanking Genevieve for her audacity in sustaining our original story pattern and presenting it just as raw as we always did before they [the oversabis] came and told us we were doing nonsense, that the foreign markets and distributors wouldn't touch us with a ten-mile pole. Now I can say, dear oversabis, Genevieve Nnaji's Obiagu: Lionheart has proven you all wrong. Connections and those she knows may have played a part in securing her much celebrated deal with Netflix, but my joy is that it’s Nollywood that was bought and that gives me so much joy.

Lancelot Oduwa Imasuen

Film Director/Producer

Igbo People, Culture, and History

Inside Nollywood's Giant Economic Machine

(CNN)--They used to be the preserve of informal home gatherings around old flickering TV sets, but Nollywood films have now gone global.

Movie streaming giant Netflix has dedicated an entire section to Nigeria's mega film industry, so rather than having to buy a DVD, viewers around the world can now get their fix of Nigerian drama straight to their computer screens -- Nollywood is notorious for churning out hundreds of movies per month, capturing viewers with stories ranging from romance and drama to comedy and witchcraft.

Omotola Acts Better than Genevieve

(Charles Novia)--Congratulations to the Nollywood recipients of the Nigerian National Awards which took place today [September 29, 2014] in Abuja.

Kenneth Nnebue, Joke Silva and Omotola Jalade-Ekeinde were each given National Honours by President Jonathan today.

Kenneth Nnebue is generally acknowledged as the founder of the home video industry in Nigeria which later snowballed into Nollywood. His epoch-making movie 'Living in Bondage' which he Executive Produced in 1992 generated the unleashing of creative spirits in Nigeria who followed his footsteps and used the affordable home video technology to exhibit their gifts. Perhaps without Nnebue's foray into that sector, the likes of me and thousands of others would never have found the creative leeway we used to show our talents. His award is belated though. But better late than never.

Igbo People and Igbo Land

Olaudah Equina - Jaja of Opobo - Nri Obalike - Chinua Achebe
Philip Emeagwali - Pat Utomi - Chris Abani - Ngozi Okonjo-Iweala
Chimamanda N. Adichie - Chiwetel Ejiofor - Mikel Obi - Genevieve Nnaji

(From The World Igbo Congress) - Igbo people are among the largest single ethnic groups in Africa. They are based mostly in southeastern Nigeria constituting about 25% of the population of the country. Because the Igbo is daring, competitive, hard-working and enterprising, they can be found doing business in all parts of Nigeria, in Cameroon, Gabon, and Equatorial Guinea. 

These attributes brought success, wealth and power… as well as distrust, jealousy and outright hatred within the polity. The mass exodus of Igbo people from their homeland has continued unabated and the Igbo can indeed be found in very significant numbers in all parts of the world. Their language is Igbo. 

Administratively, Igbo people make up 100% of the five states of the southeast zone comprising Abia, Anambra, Ebonyi, Enugu and Imo. The contiguous states of Delta and Rivers in the south-south zone also have very significant Igbo populations. Igbo is the language throughout Igbo land. Prominent cities/parts in the Igbo country include Aba, Awka, Owerri, Orlu, Nnewi, Mbaise, Nsukka, Enugu, Onitsha , Afikpo, Okigwe, Umuahia, Asaba, amongst others. 

London School of Economics Screens First Nollywood Movie

(Entertainment Express)--"This is definitely a cheering news for all lovers of the Nigerian motion picture industry globally known as Nollywood. Recently, the prestigious and famously revered London School of Economics and Political Science (LSE), United Kingdom, proudly screened its first ever Nollywood movie, Ije: The Journey...to its multiracial students and stakeholders."

"The Nollywood-Los Angeles collaboration, produced and directed by youthful Chineze Anyaene, a multiple-award winning filmmaker,  was shown at the Global Media and Communications post-graduate program's weekly interaction. The duo of Omotola Jolade-Ekeinde and Genevieve Nnaji are the lead acts in the pulsating and suspense-filled flick. The diverse audience in attendance at the event in the Graham Wallace Room, spanned four continents (Africa, Asia, Europe and North America). Also in attendance was the Program Director, Prof. Terhi Rantanen.

"At the post-screening discussion afterwards, the viewers, most of whom were encountering Nollywood for the first time, offered pointed and critical reviews of the film. They discussed its framing of contemporary socio-cultural issues of transnational migration, legal justice, gender representation, identity, stereotypes and family, among others.  Some expressed